"What if autoethnography were treated not as an academic subject but as an artistic one?"
Issues
All
- Bodily Autonomy Special Issue, 2022-23
- Celebrating Dr. Patricia Leavy's Social Fiction 2024
- Climate Change Special Issue, 2022
- Laughter Special Issue, 2023
- Queer Special Issue, 2023-24
- Volume 1, Issue 1 (2021)
- Volume 1, Issue 2 (2021)
- Volume 2, Issue 1 (2022)
- Volume 2, Issue 2 (2022)
- Volume 2, Issue 3 (2022)
- Volume 2, Issue 4 (2022)
- Volume 3, Issue 1 (2023)
- Volume 3, Issue 2 (2023)
- Volume 3, Issue 3 (2023)
- Volume 3, Issue 4 (2023)
- Volume 4, Issue 1 (2024)
- Volume 4, Issue 2 (2024)
- Volume 4, Issue 3 (2024)
Just like Puerto Rican immigrants, animals might land in a complex political landscape where some might welcome them, but some might not.
A Startling Note: "Looking for Gay Friends" in the Triangle Place narrates a gay man’s experience of sexual awakening on a university campus.
"Although I never planned it, I wrote a series of novels, Celestial Bodies, that have pierced my heart in a way nothing else ever has, changing me as a writer and as a person."
“A Quest for Social Justice: Notes on an Encounter” continues my accounting of having been falsely accused of sexual assault online.
""Mourning (Unfinished)" is an essay about the way my experiences with farm animals helped me come to terms with a miscarriage."
I wrote “The Crevasse: A Love Letter” to help me grapple with confusing changes to the terrain of my life.
"When I review evocative autoethnography I look for that layer in the contribution that will entertain and connect to a cultural issue."
This lighthearted essay illustrates an experience I had in Singapore while doing research for a book I was writing about spirituality.
I provide context by referencing theory and practice in narrative medicine and current literary criticism around trauma plots.
"Give Me a Strawberry Cockroach" is the first article in our 2023 special issue on laughter and tells a story of Japanese language learning and performance.
Leavy is more than the mother of the social fiction movement in the social sciences; she’s its fairy godmother.